Bunny Image

Generally favorable reviews - based on 13 Critics What's this?

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  • Summary: The fifth full-length release for the electronic music producer features guest appearances from Tegan and Sara.
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Score distribution:
  1. Positive: 10 out of 13
  2. Negative: 0 out of 13
  1. Oct 11, 2018
    Matthew Dear has written an album in Bunny that wholly reflects the person he is now. Throughout, there is a palpable sense that having a family has changed him but certainly not at the expense of the music. Rather, the changes in his life have brought everything into sharper focus, reflected in the depth and breadth of the music on his best album yet.
  2. Q Magazine
    Oct 10, 2018
    A brace of new collaborations with Canadian duo Tegan And Sara, whose pop sparkle illuminates Bad Ones' nocturnal tech-house, reveal yet another facet to Dear's ever-changing modes. [Nov 2018, p.105]
  3. Mojo
    Oct 10, 2018
    There are times on Bunny when Dear doesn't stray far from the hypnotic, hedonistic mood that underpins his dancefloor moniker, Audion. ... But Bunny really shows its teeth on Can You Rush Them. A smouldering, malevolent breakbeat stomp, its exhortation to "take back the streets" hints at America's political turmoil. [Nov 2018, p.86]
  4. Oct 11, 2018
    Bunny seems more like an album to mentally pick apart than dance to, yet it's not hard to lose one's self in the rush of Dear's inventive rhythms.
  5. Oct 15, 2018
    Bunny in its entirety is quintessentially disparate, a fleeting repertoire of the avant, and a keeper of both the nostalgic and the progressive. Matthew Dear is unlike the rest, as he invites us into his cathedral of sounds, and will undoubtedly ‘stick around in the house of your mind’.
  6. Oct 12, 2018
    It sags in places, but this isn’t such a crime when the album also contains highlights like Electricity, Horses, Modafinil Blues and Bunny’s Dream, which are highly recommended for any electronic music fan.
  7. Oct 15, 2018
    It’s his weakest effort to date. His range of voices, from his familiar craggy baritone to a hesitant pitch-shifted falsetto (on ‘Echo’) are made to do all the heavy lifting because Dear the producer is too content with letting tracks spin their wheels and sputter to a halt.

See all 13 Critic Reviews

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